Tuesday, May 12, 2015

La Mer

Once in a while our table conversation might
concern the perception of the sea in Charles Trénet’s “La Mer”
which was recorded in the mid-forties.
I myself had grown up by an entirely different sea
but seemed to share
a sea which was not mine but yours:
I suggested that our perception
was determined by “a certain way of filming the sea”
which we associate with the forties –
black-and-white, of course, but above all
with slow, almost dawdling reflections of the sun,
single, slowly twinkling silver flashes
in the sea shot looking south,
in the sea at noon.
Black shadows in the foreground –
they make the soundless play of the sun
seem even more dazzling out at sea.
It is as if these dawdling reflections had given me access
to a world which was not mine –
for a moment I really believe
that communication is possible,
that the images have an inner life to convey,
see you on the Mediterranean beach:
the periphery is blurred but in the middle of the picture
the definition is so strong
that I see the glitter in the little girl’s eyes
where she stands in the glittering waves,
where she is overcome by the sea today,
by merely existing near a summer sea,
where without a doubt she hears voices shouting
though she cannot make out what they are saying in the surge
while the clouds imperceptibly have come to a halt
in the depth of the clearest of bays.

Jesper Svenbro
© Translation by John Matthias & Lars-Håkan Svensson

Sunday, May 3, 2015

Tirana Open 1

Tirana Open 1 presents the first of its kind initiative in the Balkans, bringing together under one umbrella an unprecedented array of Albanian and International cultural institutions presenting a rich multi-disciplinary program of exhibitions, events, and public interventions.
Reflecting on a city that is at once an old Roman center, Ottoman outpost, Italian Novecento archetype, Fascist utopian dream, an example of Stalinist brutalism, and finally, a model of contemporary (non) architecture run amok, Tirana Open 1 explores its locale as a vibrant lab of cultural hybridity and an alternative model for urban development and audience engagement.
Tirana Open 1 is an invitation to a pass-the-word that Tirana is the urban square that has no cultural barriers, but only porous borders of cultural belonging” says festival co- director Helidon Gjergji. “By inviting international cultural institutions to participate in this city-wide happening, we hope to make the local institutions and citizens of Tirana feel a bit like visitors in their own city, and to make visitors feel like citizens of Tirana. This is not a role play, but a playful reality.”

Kostis Velonis, How One Can Think Freely in the Shadow of a Temple, 2008, Video Mod HD, Duration : 2'45''

Pamur, the festival’s contemporary arts section, presents a special guest project by celebrated artist William Kentridge (South Africa), alongside a a juried competition of video art by prominent international and local artists, including Yuri Ancarani (Fondazione Sandretto Re Rebaudengo, Torino), Olivo Barbieri (MAXII, Rome), Henry Chapman (T293 Gallery, Naples), Donika Cina (Galeria e Vogël, Tirana), Alberto Di Fabio (Gagosian Gallery, London), Nathalie Djurberg (Museo Pascali, Polignano a Mare, DZT Collective (Stefano Romano & Eri Çobo) TICA (Tirana Institute of Contemporary Art, Tirana), Yllka Gjollesha (Zeta Gallery, Tirana), Elis Gjoni (Art Kontakt, Tirana), Felix Gmelin (Stacion - Center for Contemporary Art, Prishtina), Ibro Hasanovic (Tirana Art Lab, Tirana), Aurora Kalemi (Zenit Gallery, Tirana), Santiago Mostyn (Moderna Museet, Malmö), Alban Muja (Tulla Culture Center, Tirana), Marzena Nowak (Galerija Gregor Podnar, Berlin), Matilda Odobashi (FAB, Tirana), Anri Sala (Hauser & Wirth Gallery, Zurich), Sissi (MAM Foundation, Tirana), Cauleen Smith (Museum of Contemporary Art, Chicago), Stefanos Tsivopoulos (Thessaloniki Center of Contemporary Art, Thessaloniki), The Two Gullivers (Flutura Preka & Besnik Haxhillari) MAI (Marina Abramovic Institute, Hudson, New York), Nasan Tur (Blain/Southern Gallery, London), Nico Vascellari (The National Gallery of Arts, Tirana), Kostis Velonis (Kunsthalle Athena, Athens), Driant Zeneli (Fondazione Pistoletto, Biella). Granting an award named after the renown Albanian artist Danish Jukniu, competition jury includes Edoardo Bonaspetti (Mousse Magazine), Cathryn Drake (Artforum & Frieze Magazine), and Michele Robecchi (Phaidon). Artist Adrian Paci (Shkodër/Milano) will be delivering a featured artist talk.

Tirana Open 1 Directors: Arlinda Dudaj, Helidon Gjergji & Vladimir Myrtezai- Grosha. Tirana Open 1 is organized by Tirana Open, under the auspices of Edi Rama, Prime Minister, and the Ministry of Culture, Republic of Albania. 

 6-13 May 2015

Wednesday, April 29, 2015

On the Shepherds' Play

On the Shepherds' Play, 2011-15
Video, duration 1'00''.

Saturday, April 25, 2015

What is it Good For ?

Alice Becker-Ho and Guy Debord playing the Game of War, 1977.

By Nathan Heller

Comme aux jeux de hasard

Comme aux jeux de hasard
Des règles sont posées
On va tenter la chance
faire preuve de la patience
on paiera pour voir

Comme aux jeux de hasard
Quand les des sont lancés
On les regarde rouler
Mais les jeux sont faits
Il est déjà trop tard

Alice Becker-Ho,1998


Lunch, 2014-15
Wood, paint, fabric, plaster, acrylic, oil, steel
63 x 56 x 27 cm

Monday, April 20, 2015

John Keats and ‘negative capability’

In December 1817 John Keats was returning from the Christmas pantomime with his friends Charles Wentworth Dilke and Charles Brown. On the walk home, he later told his brothers George and Tom, he got into a ‘disquisition’ with Dilke on a number of subjects:
several things dovetailed in my mind, & at once it struck me, what quality went to form a Man of Achievement especially in Literature & which Shakespeare possessed so enormously – I mean Negative Capability, that is when a man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason – Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the Penetralium of mystery, from being incapable of remaining content with half knowledge.[1]
It is a famous passage; and it is entirely characteristic of Keats that he should come up with one of his most telling phrases (‘Negative Capability’) in such an impromptu fashion, without preamble or lengthy explanation. His language is not immediately clear, but richly suggestive and idiosyncratic.

What does Keats mean by ‘negative capability’? Clearly, he is using the word ‘negative’ not in a pejorative sense, but to convey the idea that a person’s potential can be defined by what he or she does not possess – in this case a need to be clever, a determination to work everything out. Essential to literary achievement, Keats argues, is a certain passivity, a willingness to let what is mysterious or doubtful remain just that. His fellow poet Samuel Taylor Coleridge, he suggests, would do well to break off from his relentless search for knowledge, and instead contemplate something beautiful and true (‘a fine verisimilitude’) caught, as if by accident, from the most secret part (‘Penetralium’) of mystery. The experience and intuitive appreciation of the beautiful is, indeed, central to poetic talent, and renders irrelevant anything that is arrived at through reason. Keats ends his brief discussion of negative capability by concluding that ‘with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration’.
Article by Stephen Hebron

The Enigma of Kaspar Hauser

Kaspar trying to teach a cat to walk on its hind legs.
The Enigma of Kaspar Hauser (Jeder für sich und Gott gegen alle), 1974.
Writ./Dir. by Werner Herzog.


Sophie Taeuber-Arp, Untitled (Composition with Squares, Circle, Rectangles, Triangles), 1918
Pearl cotton, coloured dyes , 61 x 62.5 cm

Friday, April 17, 2015

Incontro ravvicinato

Corrado Calabrò

Sunday, April 5, 2015

Rabbit with Axe

Gorleston Psalter, England 14th century, British Library, Add 49622, fol. 13v

Tuesday, March 31, 2015

Edward Weston and Mabel Dodge Luhan Remember D. H. Lawrence and Selected Carmel-Taos Connections

This article is in essence a chapter of a book in progress on the familial relationships between the Schindler and Weston families, from their separate Chicago years through their bohemian social circles in Los Angeles and Carmel in the 1920s and 1930s. For now I plan to end the book in 1938 when Weston married Charis Wilson and built his home in Carmel Highlands and the Schindlers divorced and began living separate lives under the same roof in their iconic RMS-designed Kings Road House. My working title for the book is The Schindlers and the Westons: An Avant-Garde Friendship. Their fascinatingly interwoven lives and relationships remained avant-garde to the end. As always, I welcome your feedback on any of my pieces.

Text  by  John Crosse 


Taos Pueblo, R. M. Schindler photo, October 1915.

Sunday, March 29, 2015


Lumpen, 2014
Wood, acrylic, canvas 
46 x 29 cm


John Latham, Still and Chew invitation. Image copyright The Estate of Barry Flanagan, courtesy Bridgeman Art Library.

Pataphysics provides a framework for dialogues between Barry Flanagan and John Latham. ’Pataphysics is defined by its inventor, Alfred Jarry, the Symbolist poet and writer, as ‘the science of imaginary solutions.’  It preoccupied Flanagan from the early 1960s before he enrolled on the Advanced Sculpture Course at St Martin’s School of Art in 1964, where he met John Latham who was at that time teaching in the painting department.

Establishing the common ground is not difficult and it is logical that Latham and Flanagan would have gravitated towards each other in order to discuss paradoxes and contradictions of making art. Discussions of monetary and aesthetic value lead to considering how these systems are determined by time. This includes questions of labour cost, how much is time worth and by whom this is measured. These  quantifications affect how we think – whether something is worthwhile or not worthwhile depends on criteria. Holding onto the concept of ‘not knowing’, of casting the yes/no and either/or paradigms aside, even if only temporarily as an impossible aim is hard. This is due to its slippery character as much as a self-conscious societal need for accountability. ’Pataphysics, is properly denoted with the apostrophe before the letter p, as if to close a previous speech mark and thus mark a metaphorical circularity, or to put it another way, an ending before a beginning. This circularity of intention is a primary characteristic of pataphysical thinking and which is frequently symbolised by the spiral form. The movement is similar to the palindrome, which is a paradoxical forward-backward relationship. This exhibition will illuminate their collaborative and shared concerns beginning with the notorious Still and Chew happening, when the formalist critic Clement Greenberg’s recently published collection of essays Art and Culture was systematically chewed to a pulp in 1966. Flanagan’s catch phrase ‘examine the facts’ provides a curatorial key.

Exhibition curated by Jo Melvin, Palindromes looks at ’pataphysics and transactions between Barry Flanagan and John Latham

2 April–17 May 2015
Flat Time House, London

Thursday, March 26, 2015

Installation with torn strips of linen

Marie Lieb, Installation with torn strips of linen, designed on the floor of the psychiatric hospital where she lived, Germany, c. 1894 Collection Prinzhorn, Heidelberg, Germany.
No detailed information about Marie Lieb’s life is known. She was hospitalized in the Heidelberg clinic in 1894 diagnosed with “periodic mania”. Only two photographs survive as evidence of her distinctive style. 

Tuesday, March 17, 2015

The Birth of the Robot

DirectorLen Lye
Production CompanyShell-Mex
ProducerLen Lye
ScriptC.H. David
PhotographyAlex Strasser
Colour Decor & ProductionHumphrey Jennings
Sound RecordingJack Ellitt

A puppet fantasy advertising Shell Lubrication oils. A man motoring in the desert dies and, with the help of Shell Mex oil, is reconstructed as the company's trademark robot.


Art In The Age Of…Energy and Raw Material

Nicholas Mangan, A World Undone, 2012 (video still)HD colour, silent, 12 min continuous loop

Witte de With kicks off its 25th anniversary with Art In The Age Of…, a three-part presentation series that investigates future vectors of art production in the 21st century, highlighting the circulation of art and its underlying economies rather than its territorial location, its spread and infectious expanse rather than its arrest within narrowly defined genealogies and media. These presentations focus on the role of raw materials, destruction, and computation within art’s creation and its dispersal. With the core question: how does the creation of art relate to the flow of energy, or to algorithms; which infrastructures will it be parasiting in the 21st century?
Art In The Age Of… is presented throughout 2015 with frameworks dedicated to Energy and Raw Material, Planetary Computation (22 May – 23 August 2015) and Asymmetrical Warfare(11 September 2015 – 3 January 2016) opening May 21 and September 10 respectively.
The first installment of Art In The Age Of… focuses on how forms of energy and raw material shape, or are narrated by, contemporary artistic practices. Since early times art objects have drifted with the motion and transformation of raw materials like wheat, minerals, and cotton. How does contemporary art relate to geothermal energy? To oil, gas, or alternative sources such as the sun? Could it even fly on rays of cosmic energy?
The installation Strobank by artist duo MAP Office examines wheat, its distribution and symbolic capital, alongside a history of the stock market’s trading pit. Nina Canell meditates upon the the loss of information and energy that occurs during processes of transference in her sculptural constellation of stumps and cross-sections of telecommunication and power cables, each becoming sentences cut-off mid-flow or instances of material forgetfulness. In Children of UnquietMikhail Karikis interweaves sound recordings of geothermal activity and industry in Larderello, Italy, with a cinematic and cultural history of Dante’s Inferno, whose vision of hell was inspired by that very location. Anton Vidokle’s This is Cosmos turns its eyes to the stars and charts the Cosmism movement in Russia and its disavowal of death through cosmic energy, positing the medium of film itself as an irradiation treatment. Through image and archive, Céline Condorelli addresses the relationship between Egypt’s cotton industry and its nationalization after Nasser’s revolution. Zircon, a 4,400-million-year-old mineral is excavated, dematerialized and reanimated in Nicholas Mangan’s A World Undone, whilst material is mapped to stock market fluctuations in Talk About the Weather. In Marlie Mulsculptural series Puddles, messy dark matter glistens and seeps, contaminated by human interaction.
The exhibition includes  Petrocultures, a section devoted to films, adverts and ephemera related to the development of the iconography of oil, curated by Natasha Hoare and  Sophie Rzepecky.  With thanks to Natasha Ginwala and Adam Kleinman.
Alongside artist presentations, a dedicated research blog has been founded.  This blog will track the development of Art in the Age of… Exhibitions for 2015 and acts as a visual reader accompanying artists work: http://artintheageof15.tumblr.com/
Art In The Age Of… Energy and Raw Material
23 January – 3 May 2015
Team: Defne Ayas, Natasha Hoare, Samuel Saelamakers.
Canell, Nina 
Condorelli, Celine 
Karikis, Mikhail 
Mangan, Nicholas 
MAP Office 
Mul, Marlie 

Monday, March 16, 2015

Thursday, March 12, 2015

Beauty is the Method

Tribune Leading to the Ramp and Ramp Leading to the Tribune,2014. Wood, acrylic, book print

The exhibition showcases works by: Nikos Alexiou, Athanasios Argianas, Dimitris Baboulis, Dionisis Christophilogiannis, Chryssa, Vasso Gavaisse, Vassilis Gerodimos, Nick Ervinck, Dimitris Foutris, Chris Gianakos, Zoe Keramea, Kornelios Grammenos, Rowena Hughes, Hope, James Lane, Hiroshi MacDonald Mori, Giorgos Maraziotis, Eleanna Martinou, Dimitris Merantzas, Michael Michaeledes, Nina Papaconstantinou, Nikos Papadopoulos, Aemilia Papaphilippou, Joulia Strauss, Stefania Strouza, Thanassis Totsikas, and Kostis Velonis.
Curated by Sotirios Bahtsetzis

March 13 – April 30, 2015
ACG Art Gallery DEREE – The American College of Greece

Η ελάχιστη δομή

Οι εκδόσεις Κριτική σας προσκαλούν στην παρουσίαση του συλλογικού τόμου «Η ελάχιστη δομή».
Πέμπτη 12 Μαρτίου 2015 και ώρα 19.00 στο βιβλιοπωλείο Επί λέξει, Ακαδημίας 32, Αθήνα.

Αποστόλης Αρτινός, Κωστής Βελώνης, Δήμητρα, Βογιατζάκη, Φοίβη Γιαννίση, Πάνος Δραγώνας, Ίρις Λυκουριώτη, Σταύρος Μαρτίνος, Χρήστος Παπούλιας, Βάσω Πλαβού, Γιώργος Τζιρτζιλάκης
Αρχιτεκτονική εγκατάσταση:
Γιώργος Παπαδήμας, Άσπα Σκορλέτου, Τζεβελέκου Χριστίνα
Εικαστική παρέμβαση:
Χριστίνα Σγουρομύτη

Tuesday, March 10, 2015

Ακέφαλη γλυπτική και εθνική παρέκκλιση

Whistle While you Work

Whistle While you Work, 2014
 Wood,concrete, soil, dried grass, seeds, insect nests, 110 x 111 x 10 cm.

Friday, February 27, 2015

Whistle While You Work - Snow White and the Seven Dwarfs

A Kind of Loss

Used together: seasons, books, a piece of music.

The keys, teacups, bread basket, sheet and a bed.

A hope chest of words, of gestures, brought back, used,
used up.

A household order maintained. Said. Done.
And always a head was there.
I've fallen in love with winter, with a Viennese septet, with summer.
With Village maps, a mountain nest, a beach and a

Kept a calender cult, declared promises irrevocable,
bowed before something, was pious to a nothing
(-to a folded newspaper, cold ashes, the scribbled piece of paper) ,
fearless in religion, for our bed was the church.

From my lake view arose my inexhaustible painting.

From my balcony I greeted entire peoples, my neighbors.

By the chimney fire, in safety, my hair took on its deepest hue.

The ringing at the door was the alarm for my joy.

It's not you I've lost,

but the world.

Ingeborg Bachmann

Monday, February 23, 2015

I'm Never Coming Home Bag

I'm Never Coming Home Bag, 2015 
Wood, plywood, acrylic, paper
110 x 14 x 43 cm

What Little Remains of Life

Life is a non-equilibrium process involving a series of biochemical reactions that use external energy to build the cellular structure and the complexity of the organism. Humans strive for the continuation of their existence. This can be based on an illusory afterlife according to religion or on practical efforts through technology. But the temporality of individual lives is inevitable. Death in the universe, governed by the law of entropy, is unavoidable. Thus, as all traces of human existence fade away, what is most important in life is what one thinks and does at the present moment, when one is fully aware of life. Capturing each moment and filling it with some meaning is the only consolation in life. 

By Ben G.Yacobi

Journal of Philosophy of Life Vol.4, No.1 (January 2014):38-47 

Pair Production

Using Efstathiou’s wall piece Cloud Chamber as a starting point, this two-person exhibition and short residency at New Court Gallery has been informed by aesthetic qualities extracted by a scattered Physics glossary and the co-habitation of two differentiated art practices. Under the conditions of the ‘isolated’ environment of the empty exhibition-studio space reminiscent of a cloud chamber as ‘a sealed environment where charged particles may leave ionized tracks distinctive in various shapes indicating different types of collisions’, Maria Efstathiou and Margarita Myrogianni have merged their artistic practices by coming up with mixed-media explorations through aesthetic interpretations inspired by such scientific terminology. Annihilation, energized particles, matter and anti-matter, growth formation, suspension of phenomena, have been phrases used during the artists’ stay whilst working on new and existing work brought in from their Athens studios. The outcome of this endeavor has involved exposing their methodologies by focusing on the preparatory stages and seeing the process as the end product via a metaphorical take on the term pair production as ‘a direct conversion of radiant energy to matter’. Text by Maria Georgoula

New Court Gallery, Repton, Derbyshire, Feb.2015

Wednesday, February 18, 2015


Pluto (in it’s entirety)

Help me get an asteroid for the Summer..
The Planet eh...now Asteroid Pluto (in it’s entirety)
Availability: In stock

Tuesday, February 17, 2015

More Precious than Gold

Limited to just 12 copies, numbered 1958–1969, the Lunar Rock Edition of Norman Mailer’s MoonFire is designed by Marc Newson. His concept was inspired by the Apollo 11 LEM (Lunar Excursion Module). Each book is contained in a case made from a single piece of aluminum—its surface an actual 3-D topography of the Moon—and comes with a unique piece of lunar rock.

Meteorites from the Moon are exceptionally rare. There are fewer than 70 lunar meteorites known with a total combined weight of approximately 55 kilograms, making them millions of times rarer than gem grade diamonds. However, most lunar meteorites reside in museum collections and research institutions, leaving only 15 kilograms or so available to individual collectors worldwide. Since acquiring an Apollo moon rock is virtually impossible, the only realistic way to own a piece of the moon is by acquiring a lunar meteorite.

Werner Herzog Inspirationals

Positive quotes  that lift the spirit ..  ;)


Monday, February 16, 2015

Life Imitating Nature — Wenchuan

At Wolong National Nature Reserve, Chinese scientists face
the challenge of caring for a population of 150 giant pandas
 and reintroducing them into the wild to support this highly
 endangered species. The adult pandas have lost the skills
 needed to survive independently of humans, so the reserve
 staff focus their efforts on the newborn cubs.
In order to teach the cubs real panda ways, any contact with
 their domesticated parents or humans has to be avoided.
 The scientists came up with a cunning plan: by dressing up
 as pandas, and mimicking natural panda behaviour,
they hope to teach the cubs by example.
Despite their best efforts, only two giant pandas have been
 successfully reintroduced to their natural habitat in the
past 30 years.
by Anne Miltenburg

Wednesday, February 4, 2015

Θάνος Μurray Βελλούδιος / Χαμένος κρίκος ή μεταιχμιακός σπινθηριστής?

Στο κέντρο Τέχνης και Πολιτισμού Beton7 από τις 13/01/2015 μέχρι τις 07/02/2015 θα πραγματοποιηθούν τεκμηριώσεις, συμπλεύσεις και συμπλέξεις αναφορικά με το έργο του  Θ. Μ – Β, θα ανακληθούν αναμνήσεις, θα υπάρξουν αναπολήσεις, θα γίνουν αναφορές, σταθμίσεις  και αποτιμήσεις και θα εντοπιστούν οι προοπτικές που ανοίγονται. Στο πλαίσιο του αφιερώματος θα διοργανωθούν εκθέσεις, παρουσιάσεις τεκμηρίων, συζητήσεις, διαλέξεις, διάλογοι, προβολές ταινιών και φωτογραφιών, ηχητικές και άλλες εγκαταστάσεις, καθώς επίσης και επιτελέσεις (perfomances) σε επιμέλεια Δημοσθένη Αγραφιώτη.

Πρόγραμμα δράσεων:

13.01 | 20.00 Εγκαίνια και επιτελέσεις (performances) από τους: Joulia Strauss, Michele Valley, Δημοσθένης Αγραφιώτης.
15.01 | 18.45 Αντώνης Βολανάκης, Επιτέλεση
16.01 | 18.45 Βασίλης Νούλας, Κώστας Τζημούλης.Επιτελεστική διάλεξη
21.01 | 18.45 Διαμαντής Καράβολας .”Ο Θ.Βελλούδιος και τα συγκείμενα (context) του 1920-30”.Διάλεξη.
22.01 |18.45 Πάνος Χαραλάμπους {Joseph Βeuys –Βελλούδιος} και Πάνος Μποσνάκης {Marcel Duchamp-Βελλούδιος}.Ομιλίες.
24.01 | 16.00 – 20.30 Ανοιχτή συζήτηση με θέμα” Έργα και βίος του Θ. Murray-Βελλούδιου» . Συμμετέχουν οι: Ναταλία Μελά, Κώστας Κλεφτόγιαννης, Αντώνης Νταγαδάκης, Αναστάσης Καμπέρογλου, Αλέξης Σαββάκης, Λεωνίδας Εμπειρίκος, Ευθύμης Δημητρίου, Κατερίνα Κουτσίνα,Γιώργος Πανουσόπουλος, Λάκης Παπαστάθης, Τώνης Λυκουρέσης, Διονύσης Φωτόπουλοςκ.ά και όσοι άλλοι γνώρισαν το Θ. Βελλούδιο από κοντά. [Θα γίνει βιντεοσκόπηση για τη δημιουργία αρχείου, αναμνήσεων και μαρτυριών].
27.01 | 18.45 Ελισάβετ Αρσενίου, «Ο Θ.Βελλούδιος και η Ελληνική πρωτοπορία». Διάλεξη-συζήτηση
30.01 | 18.45 Φαίδων Χατζηαντωνίου. Φαντασιομετρική παρουσίαση μουσικών και άλλων για την αεροπορία-«Μ.Χατζηδάκις,Θ.Βελλούδιος.Μια μουσική διένεξη».
03.02 18.45 Ο Λεωνίδας Εμπειρίκος συζητάει με το Δημοσθένη Αγραφιώτη για το ζήτημα της ‘παραναγνώρισης’ στις περιπτώσεις του Αντρέα Εμπειρίκου και του Θάνου Μούρραη-Βελλούδιου.
05.02 | 18.45 Νάντια Αργυροπούλου, "Πολλά 'ισκιώματα',το τρομερό 'Αμάν', ο Βελλούδιος, ο Εμπειρίκος και η ζωή ως ριζοσπαστική επινόηση". Επίσκεψη σημειώσεων με εικόνες .

06.02 | 18.45 Μαρία Γεωργιλάκη ,«Η Μέδουσα του Βελλούδιου και άλλες μέδουσες»,Διάλεξη και 
προβολές εικόνων.

Συμμετέχουν - συμβάλλουν: Ελισάβετ Αρσενίου, Γεωργία Σαγρή, Κατερίνα Κουτσίνα, Αντώνης Βολανάκης, Νεκτάριος Παπαδημητρίου, Πάνος Χαραλάμπους, Παναγιώτης Μποσνάκης, Διαμαντής Καράβολας, Λεωνίδας Εμπειρίκος, Νάντια Αργυροπούλου, Φαίδων Χατζηαντωνίου, Ελένη Πολυβίου, Αντώνης Νταγαδάκης, Αλέξης Σαββάκης, Βασίλης Νούλας, Κώστας Τζημούλης, Αναστάσης Καμπέρογλου, Κώστας Κλεφτόγιαννης, Γεώργιος Βελούδιος, Ναταλία Μελά, Λάκης Παπαστάθης (Cinetic-«Paraskinio»), Μανώλης Μανουσάκης, Joulia Strauss, Michele Valley, Μαριέττα Καλλονά, Τάσος Βρεττός, Παντελής Βούλγαρης, Γιώργος Πανουσόπουλος, Μαρία Γεωργιλάκη, Ευθύμης Δημητρίου, Διονύσιος Φωτόπουλος, Τώνης Λυκουρέσης, Νίκος Γκίκας, Απόστολος Αργυριάδης, Μαρία Αργυριάδη, Αλεξάνδρα Τσουκαλά, Μάρκος Χολέβας κ.α.

Επιμέλεια: Δημοσθένης Αγραφιώτης.